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Ludwig van Beethoven - Piano Concerto No. 3 - Glenn Gould, Columbia Symphony Orchestra, Leonard Bernstein (1960/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Glenn Gould, Columbia Symphony Orchestra, Leonard Bernstein
Title: Beethoven: Piano Concerto No. 3 in C Minor, Op. 37
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1960/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:37:37
Recorded: 1959

By now the critics had evidently made their peace with Gould’s wayward readings of Beethoven. His recording of the C-minor Concerto, again with Leonard Bernstein, met with general approval, even if Gould “yields more to his own nature than he should in the Largo” and “meanders and rhapsodizes without thinking that this movement, too, is by Beethoven.“
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Ludwig van Beethoven - Bagatelles, Op. 33 & Op. 126 - Glenn Gould (1975/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Glenn Gould
Title: Beethoven - Bagatelles, Op. 33 & Op. 126
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:41:34
Recorded: 1974

If the final sonatas in the Beethoven cycle dragged on for ages, the two sets of Bagatelles were turned out in a trice: the recording was completed in a mere four days. Whether there was ever a plan to record the third set, op. 119, is anybody’s guess.
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Bela Bartok - Mikrokosmos 6 & other piano music - Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Béla Bartók (1881-1945)
Artist: Cédric Tiberghien
Title: Bartók - Mikrokosmos 6 & other piano music
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 77 minutes 30 seconds
Recorded: November 2014, Henry Wood Hall, London, United Kingdom

The remarkably gifted French pianist Cédric Tiberghien turns to the music of Béla Bartók in a wide-ranging programme including the famous Op 14 Suite and the sixth (and final—most ferocious in its technical demands) book of the Mikrokosmos project.
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Johann Sebastian Bach - St. Matthew Passion, BWV 244 - Munchener Bach-Chor, Munchener Bach-Orchester, Karl Richter (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Ernst Haefliger, Kieth Engen, Irmgard Seefried, Antonia Fahberg, Hertha Töpper, Dietrich Fischer-Dieskau, Max Probest, Münchener Bach-Chor, Münchner Chorknaben, Münchener Bach-Orchester, Karl Richter
Title: Bach, J.S. - St. Matthew Passion, BWV 244
Genre: Classical, Choral
Label: © Deutsche Grammophon/Archiv Produktion
Release Date: 1959/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 03:16:38
Recorded: München, Herkules-Saal, 6-8/1958

How often a maestro’s return to his Alma Mater results in a pale reflection of previous glories—and how ironic it is that the second attempt often occurs because of the success of the original enterprise. This is certainly so in Karl Richter’s two recordings of the St Matthew Passion, where the freshness and pure theatre of the first, made in 1958, yield to a luxuriant but comparatively sentimental and over-cooked account 18 months before Richter's death in 1981. Listening to the former in its re-released state is a revelation and it must surely glow as brightly as any great recording landmark of the 1950s. The 32-year-old Richter was at the height of his powers at this time. Committed to the spirit inhabited by his famous predecessor at St Thomas’s and steeped in the intense and resolute Lutheran culture, he exhibits something of an unselfconscious obsession to deliver Bach’s greatest rhetorical drama with profound expression. The scene is appropriately set in the opening chorus which unfolds deeply bowed and long-breathed and yet not so grave and reverential as to become oppressive as it does 20 years later. Similarly, the chorales here are forthright and highly-charged, direct and concentrated as opposed to ponderous and mannered in the later recording. It is hard to know which of the versions employs larger choral forces but, being Richter, neither is short of a full and muscular capacity. The difference, however, is that the earlier recording proffers light touches (try “Wo willst du", on the first disc, track 14) and a range of clear articulations in the crowd scenes which in the later Munich Bach Choir are obscured by turgid and cloying textures. …
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Johann Sebastian Bach - St John Passion, BWV 245 - Akademie fur Alte Musik Berlin, Rene Jacobs (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Akademie für Alte Musik Berlin, René Jacobs
Title: Bach, J.S. - St John Passion, BWV 245
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical.com
Duration: 01:46:33
Recorded: juillet 2015, Teldex Studio Berlin

The two faces of a monument :: Bach revised his Johannes-Passion regularly: he returned to it over a period of twenty-six years, from 1724 to his death. It is the version hallowed by tradition, established by the Kantor a year before his death, that is presented on these albums.
Les deux visages d'un monument :: Bach a régulièrement remanié sa Johannes-Passion : il y revient pendant plus de 26 ans, de 1724 à sa mort. La version consacrée par la tradition, établie par le Cantor un an avant sa mort est enregistrée ici. La version de 1725, d'une valeur musicale tout aussi exceptionnelle et intégralement restituée, est téléchargeable en haute définition et en bonus. De la confrontation de ces deux versions se dégage le sens profond de cette passion sans égale.
Die zwei Gesichter eines Meisterwerks :: Bach hat seine Johannes-Passion regelmäßig überarbeitet: 26 Jahre lang kam er immer wieder auf sie zurück, von 1724 bis zu seinem Tod. Die hier eingespielte und heute zumeist übliche Fassung wurde vom Thomaskantor ein Jahr vor seinem Tod erstellt.
Die Version von 1725, vollständig rekonstruiert und von ebenso außerordentlichem musikalischen Rang, kann als Bonus in HD heruntergeladen werden. Die Gegenüberstellung der beiden Fassungen erlaubt ein tieferes Verständnis dieser unvergleichlichen Passion.
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Johann Sebastian Bach - Christmas Oratorio, BWV 248 - Munchener Bach-Chor, Munchener Bach-Orchester, Karl Richter (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Franz Crass, Fritz Wunderlich, Christa Ludwig, Gundula Janowitz, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter
Title: Bach, J.S. - Christmas Oratorio, BWV 248
Genre: Classical, Choral
Label: © Deutsche Grammophon/Archiv Produktion
Release Date: 1965/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 02:43:32
Recorded: München, Herkules-Saal, 1965

Noted Bach interpreter, organist and conductor Karl Richter leads the Münchener Bach-Orchester on this vintage and highly regarded 1965 reissue, Richter's second time recording Bach's Christmas Oratorio. Joining the orchestra are four vocalists described as "stunning" by Gramophone: lyric soprano Gundula Janowitz, mezzo-soprano Christa Ludwig, tenor Fritz Karl Otto Wunderlich and bass Franz Crass.
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Johann Sebastian Bach - Violin Concertos - Alina Ibragimova, Arcangelo, Jonathan Cohen (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Alina Ibragimova, Arcangelo, Jonathan Cohen
Title: Bach, J.S. - Violin Concertos
Genre: Classical
Label: © Hyperion Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 01:09:00
Recorded: Henry Wood Hall, London, 8-10 August, 2014. DDD

Recorded 8-10 August 2014, the collection of violin concertos assembled by conductor Cohen and Alina Ibragimova (b. 1985) – playing a splendid-toned 1738 Guarnerius – constitute both original compositions and some reconstructions. Recent scholarship attributes the familiar a minor and E Major Concerto to c. 1730, when Bach had assumed leadership of Telemann’s Leipzig Collegium Musicum. Antonio Vivaldi had instituted a mania for concertos of all sorts in the 1720s, and Bach seized the ritornello forms of the Italian master and concerted them to his own (Teutonic) usage. The outer movements of BWV 1041 retain the energetic, contrapuntal style that elaborates on a dance motif, while the C Major Andante unfolds an extended cantilena over a persistent bass line here rendered somewhat in the manner of a mandolin sonority. The finale, Allegro assai, proffers a 9/8 gigue that sounds quite Italianate, in a bravura style that crosses the string lines. Ibragimova’s sound, wiry and penetrating, has dazzling support from conductor Cohen and his lithe ensemble, the keen resonance provided – here and throughut – courtesy of Recording Engineer David Hinitt.
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Johann Sebastian Bach - Mass B Minor BWV 232 - La Petite Bande, Sigiswald Kuijken (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: La Petite Bande, Sigiswald Kuijken
Title: Bach, J.S. - B Minor Mass BWV 232
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:41:39
Recorded at San Lorenzo de El Escorial (Spain), Teatro Auditorio, 16-19 March 2008

In the 1980s, Joshua Rifkin published his Preliminary Report on the workings and makeup of the “choir” in the vocal works of Johann Sebastian Bach. His conclusions (then provisional and to be further elaborated on) radically contradicted the practice of the time, which consisted in unreservedly assuming that by “choir” – indeed – Bach meant a vocal ensemble that has multiple singers per part, resulting in a more or less substantial number of performers. Before Rifkin, nobody had studied the sources with such seriousness from that standpoint or sought to envision the actual conditions Bach faced in his position as cantor. Rifkin’s findings, thus, were “sacrilegious.” Generally, he concluded, Bach used one singer per part in his cantatas, motets, passions, etc., so there was no “choir” in the modern sense of the word – consequently, the B minor Mass requires just eight vocalists (the Osanna is set for 2 choirs: 2 x 4 singers).
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Ascendit Deus: Music for Ascensiontide & Pentecost - Choir of Clare College, Cambridge, The Dmitri Ensemble, Graham Ross (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Choir of Clare College, Cambridge, The Dmitri Ensemble, Graham Ross
Title: Ascendit Deus: Music for Ascensiontide & Pentecost
Genre: Classical, Choral
Label: © Harmonia Mundi
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical.com
Duration: 77:22
Recorded: April 2014 in the Cathedral and Abbey Church of St. Alban, St Albans, Hertfordshire; June & July 2014 in the Chapel of Tonbridge School, Kent; July 2014 at All Hallows’ Church, Gospel Oak, London, UK


The Feast of the Ascension, celebrated on the 40th day of Easter, is one of the chief feasts of the Christian year, in which the resurrected Jesus was taken up to Heaven in the presence of 11 of his disciples. The Feast of Pentecost, which falls 10 days after Ascension – seven Sundays (50 days, hence the name) after Easter Sunday – commemorates in the Christian church the descent of the Holy Spirit upon the Apostles. Both feasts are rich in imagery and in musical material. Many of the Ascensiontide works in this programme set all or parts of psalm 47, whose fifth verse begins ‘God is gone up with a merry noise’. 'Ascendit Deus' is a 5-part setting of that verse in Latin by the English Renaissance composer Peter Philips, which leads to a triple-time ‘Alleluia’. Ralph Vaughan Williams’s 'O clap your hands', dating from 1920, sets the opening verses of the psalm, performed here in the composer’s expanded version for choir, organ, brass and percussion. Patrick Gowers, an alumnus of Clare College, is known mainly for his film and television scores, but his double- choir setting of 'Viri Galilaei' is much performed and was written for the ordination of the Bishop of Oxford at St. Paul’s Cathedral in 1987. Graham Ross’s expanded arrangement for choir, organ, brass and percussion receives its world première recording here, alongside four new works, commissioned by Graham Ross and the Choir of Clare College in 2014, also receiving their world première recordings.
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Amuse-Bouche: French Choral Music - Robert Hollingworth, I Fagiolini (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Robert Hollingworth, I Fagiolini
Title: Amuse-Bouche: French Choral Music
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:21:15
Recorded: All Saints Church, Tooting, London, 29 June–2 July 2015

Award-winning vocal group I Fagiolini celebrates its 30th anniversary with a new release, Amuse-Bouche, offering a rich concoction of 20th Century choral delicacies and marking a departure from their previous recordings of Renaissance music. This new Decca Classics recording includes three world premieres bursting with Gallic flavour.
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